235 Royalty-Free Audio Tracks for "Music Theory"

Piano Concerto 21, K467, slow movement, bars 83-93

5 tones equal interval scale5 oscillators tuned to: 110, 132, 154, 176 and 198hz. Not that bad?.

Elektra chord implies an E Major and C# Major chord together (C# E# G# = Db F Ab)

Haydn String Quartet Op. 76 No. 3, second movement, bars 1-2

Quartet in C sharp minor, op. 131 — Trio from Scherzo, bars 69-76

Ah je vous dirai maman theme

Quartet in C sharp minor, op. 131 Trio from Scherzo, bars 93-100

Cuerdas al aire de un charango Richter (temple natural: 1º mi, 2º la, 3º mi, 4º do, 5º sol).

Ejemplo de batimiento (acústica). Frecuencias: 440 Hz y 339 Hz.Example of beating (acoustic). Frequencies: 440 Hz and 339 HzNederlands: Voorbeeld van zweving (akoestiek). Frequencies: 440 Hz en 339 Hz

Augmented chord progression: I+ IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Ah je vous dirai maman Var 1

Ah je vous dirai maman Var 8

Ah je vous dirai maman Var 5

Ah je vous dirai maman Var 7

Rauhigkeit 1 Apser = Sinus 1000 Hz und Sinus 1070 Hz gleichzeitig.The sound of a harshness of 1 asper = a sine wave tone of 1000 Hz 100 % modulated with a sine wave tone of 70 Hz at 60 dB sound pressure.

Augmented chord progression: I+ vi63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+65 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified].

Augmented chord progression: I+#6 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.

J.S.Bach, concluding bars of the Fugue in C major from The Well Tempered Clavier, Book I, BWV 846

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

An important subtype of the descending 5-6 sequence is the root position variant, also known as the Pachelbel sequence, due to the use of this sequence in Pachelbel's Canon. The Pachelbel sequence changes the first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise.

*Perfect octave on C = C'. Just: 2:1 = 1200 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 3-limit. MIDI pitch bend: none MIDI.

Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from The Well Tempered Clavier, Book I, m.1-2

This is an original composition i created in sibelius 6 using traditional music theory guidelines ( i. E circle progressions, chord progressions, aba structure. )the instruments used to create this are : chords - acoustic guitarmelody - electric guitar-xbkyboox xd.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by Opus33 into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

Chromatic analysis of measures 5-9 of Cesar Franck's Variations Symphoniques (1885). Roman numeral analysis by Cooper, Paul (1975). Perspectives in Music Theory, p.216. New York: Dodd, Mead, and Company. ISBN 0-396-06752-2.

V of V in C, four-part harmony. Bruce Benward and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition: p.269. ISBN 978-0-07-294262-0.

Title Piano hits, uncontrolled Artist stephan Original mp3 data Length:0:32 minutes (625.04 KB) Format:MP3 Stereo 44kHz 160Kbps (CBR) User tags Chord, Clash, hitting, Piano Type Natural PDSounds record number 330 Comment Hitting the piano uncontrolled with the underarms. Sound consists of 4 hits.

Created by Hyacinth (talk) 18:38, 11 December 2011 (UTC) using Sibelius. Pentatonic scale used in Ravel's (1875–1937) Ma mère l'oye (1910) III. Laideronnette, impératrice des pagodes. Source: Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.37. Seventh Edition. ISBN 978-0-07-294262-0.